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With tender attention and a keenly embodied curiosity, the poems in I am the dead, who, you take care of me are acutely aware of the ways in which language communes the living and the dead. Following the poet’s recent prose work on the historical and ecological conflicts of the American West, these poems are necrosocial biomes where the living play dead and the dead bite back. Here we find that the past is “a perfect copy of the land./ But with all the panic of the meat.” By situating himself among lyric poets such as Jack Spicer, John Ashbery, and Amiri Baraka, Anthony McCann reveals how poetry can be both an unnerving and enlivening sort of devotion. “I want life/but for the living” he writes. By turns playful, mournful, and darkly humorous, these are works which ultimately leave us emboldened in their wake.
About the author
Anthony McCann was born and raised in the Hudson Valley. He is the author of four collections of poetry including
Thing Music (Wave Books, 2014),
I Heart Your Fate (Wave Books, 2011), and
Moongarden (Wave Books, 2011). His book
Shadowlands: Fear and Freedom at the Oregon Standoff (Bloomsbury, 2019) is a nonfiction prose work investigating the 2016 armed right-wing occupation of the Malheur National Wildlife Refuge. Anthony’s teaching, writing and research interests include 19th, 20th and 21st century North American Poetry; Political Theology; Political Ecology; Native American History; History of the Revolutionary, Constitutional and Reconstruction eras; Ecological History of the American West; Cultural Anthropology; Modern Latin American Poetry; and Anarchist thought and practice as it pertains to art-making, politics and other spheres of human endeavor. He lives in the Mojave Desert.
Summary
With tender attention and a keenly embodied curiosity, the poems in I am the dead, who, you take care of me are acutely aware of the ways in which language communes the living and the dead.
Following the poet’s recent prose work on the historical and ecological conflicts of the American West, these poems are necrosocial biomes where the living play dead and the dead bite back. Here we find that the past is “a perfect copy of the land./ But with all the panic of the meat.” By situating himself among lyric poets such as Jack Spicer, John Ashbery, and Amiri Baraka, Anthony McCann reveals how poetry can be both an unnerving and enlivening sort of devotion. “I want life/but for the living” he writes. By turns playful, mournful, and darkly humorous, these are works which ultimately leave us emboldened in their wake.
Foreword
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